Review: The Puppet Monster Massacre

Text © Richard Gary / FFanzeen, 2011
Images from the Internet



The Puppet Monster Massacre
Written, puppeteerd, edited, executive produced, and directed by Dustin Mills
MVD Visual, 2010/2011
70 minutes, USD $14.95
MVDvisual.com

There is a sub-sub-genre of puppet-charactered horror and exploitation films that goes back a few years. Some titles include Mad Monster Party (okay, that one was rated G), Peter Jackson’s early Meet the Feebles, parts of Night of the Living Dead: Reanimated (reviewed in an earlier blog), the all-out hardcore Let My Puppets Come, and now this new splatterfest. These are hardly Puppetoons you would show along with Frosty the Snowman to the kiddies.

With tongue in cheek (and hand in felt) writ large, Dustin Mills does an homage to the early plethora of cheesy video-era horror flicks; this one takes place in 1985. Some of the puppets, which look similar in style to the Henson variety, were created by Dustin’s mother, with varied and imaginative looks. It’s not just the gore (of which there is plenty, some of it CGI splatter), the nudity or the sex, it’s the writing that that truly makes this something worth seeking out...other than the novelty of an all puppet exploitation film, of course.

The central theme is that the evil scientist Dr. Wolfgang Wagner (voiced by Steve Rimpieri) and his sidekick penguin, Mr. Squiggums (aka, the comic relief), has built himself a monster parasite that he plans to feed through inviting some town teens to come stay at his house under the premise that if they spend the night, they get… one million dollars.

The first teen (and main character) is Charlie (Ethan Holey), who is afraid of his own shadow, especially compared to his apparently loony World War II hero grandpa (supposedly, grandpa kicked Adolph in his Hitlers…actually – and I doubt this would make Final Jeopardy – the German leader actually only had one testicle, FYI); shame Grandpa (Bart Flynn) couldn’t have been in the movie more as he is so much fun (the crusty and vulgar old man film stereotype that Alan Arkin has embodied so well), though he is actually in the film just the right amount for the story. However, Charlie wants to restore the family honor by reopening the family dollar store (what, you’re looking for sense in a horror puppet movie? What is wrong with you?).

Also invited is Gwen (Jessica Daniels), the hoodie-wearing girl Charlie has been in love with since kindergarten and is now his best/only friend, but is afraid to ask out. We all know where that relationship is heading (some cliché’s remain true), if you’ve ever seen any of a thousand Sixteen Candles kinds of flicks. She comes across smarter, braver and more logical than him, but remains unassuming.

Third is Raimi (an obvious tribute, voiced by Mills), an Elmo-colored film geek/freak who talks in quotes and references. He is buck-toothed, has what I’m assuming are pimples (though they could be blotches; they move from one side of his face to another in different scenes), and has a Wolowitz kind of relationship with his mother (also unseen here). Actually, his oversexed, under-experienced annoying nature is also similar to the Big Bang Theory character, but is hardly a rip-off.

The fourth invitee is a bald tough guy named Iggy (of course) with a too-thick Cockney accent and lots of piercings, who is obviously monster fodder (ah, but will he have a comeuppance? Or is that a comeupuppetance?). Iggy (also Bart Flynn) brings his uninvited gothic, mohawked girlfriend, Mona (portrayed by Mills’ real-life girlfriend, Erica Kisseberth; also the voice of Raimi’s mom), who supplies the “nudity” in a couple of occasions. She is tough as nails and has more than a larcenous streak to her.

The five show up at the Rocky Horror-inspired house, turrets and all, of course on a rainy Friday night. Plot-wise, what happens from then is highly clichéd, but there are moments of lunacy equivalent to the Bugs Bunny cartoon where a horse is walking in the middle of the air who states, as Bugs flies by in Superman style, “A rabbit? Up here?” There are bunny farts (actually there are a lot of farts from numerous characters) and, well, isn’t bunny farts enough? But there is more.

It’s all very amusing, and I can understand why this won the 2011 Motor City Nightmares Film Festival’s Best Animal Film award. In the end credits, Mills lists some who inspired him to make films, such as Guilliamo Del Toro (imagination), Kevin Smith (zippy dialog and lower-level humor situations; even in Smith’s best film, Dogma, there’s a shit demon, or “poopy-boy,” as Muse/Selma Hyack calls it), Robert Rodriguez (action pacing and editing; his Planet Terror is a joy to watch for that), the aforementioned Peter Jackson (certainly not for his Lord of the Rings work, but rather his also excellent early films), and Jim Henson (well, that’s kinda obvious, doncha think?). Bugs Bunny (hey, bunnies run through the film, so why not this review?) and/or Scooby Doo can be added in such scenes as when Raimi and the monster duck around each other in varied directions.

There are two commentaries, one by Mills alone, and one by him and assistant director Brandon Salkil. While Mills mentions that he feels the one both of them is better, in actuality, they are both excellent. In either/or, he details how the film cost $3500 (for copyrights, camera, computer, software, felt), and goes on to explain that “An average day of filming was two Jackasses [Mills and Salkil] in my living room with a green screen and bunch of puppets.” Two of the characters are portrayed by professional (i.e., as Mills explains, they’ve done it for money before) voice actors: Rimperi and Flynn; they emailed in their readings, and Mills has never actually met them at the time of the commentary).

Mills goes on to explain why he made the film, his plans for the future, scene by scene his finest and least favorite (a certain CGI shot) moments, and the experience as a whole. He does a better job than most in keeping in the moment on both tracks, which is appreciative as so many other commentaries are wastes of time (including by one of his inspirations, Kevin Smith). There are also two short examples of monster styles that were not used, the second not too bad.

You really have to be of a certain type to like this kind of film, and I’m fortunate that I am, because I had a lot of fun watching the whole she-bang, and listening to all of the two commentaries. Whether there is a sequel or not (there is a typical ‘80s-style hint of it at the end), I hope these guys keep going. Texas Puppet Massacre? Last Puppet on the Left? Night of the Puppet Dead? Puppetzilla (Mills mentions that he has a thing for giant monster films)? It! Puppet From Beyond Space? The Puppet of Gore? Incredibly Strange Puppets Who Stopped Living and Became Mixed Up Marionettes? Okay, I’ll stop now while you order this film…

This review was originally published HERE

Favorites and Not Favorites for 2016

Text © Richard Gary / Indie Horror Films, 2016

Images from the Internet

It’s that time of the year again, when lists like this pop up, so why should I be different? I will republish the rules I have about such lists first:

I have an issue with “Best of” and “Worst of” year-end lists for the following reasons: most are chosen from either those that play in theaters, or viewed on PPV such as Netflix and film channels by the television provider. For me, I like to watch the DIY ones, rather than those theatre-distributed. These tend to have more heart.  My list consists of films that I saw in 2016, not necessarily ones that were released in that year.

As for Best and Worst, I never liked those terms; art is just way too subjective, which is why I called them Favorites and Not Favorites. That being said, even the “Not” ones have redeeming qualities, and the fact that they don’t touch me means nothing. I’ve hated films that have won tons of awards, so don’t take anything I say, good or bad, as the law. It’s just opinion, and I welcome you to agree or disagree. It’s all good.

These two lists are alphabetical, rather than ranked.

FAVORITES:

Abandoned Dead
Directed by Mark W. Curran

The excellent Sarah Nicklin plays a Californian rent-a-cop security guard that has been assigned to begrudgingly watch over the Mayfield Addiction Clinic over the Memorial Day Weekend. This film is not just about the supernatural (or is it?), but a supernatural thriller (or is it?). See, that’s when a film becomes a thriller, making the watcher wonder. I enjoyed how this careened over a number of genres, such as slasher, doctor experimentation, supernatural, zombie, paranormal, social commentary about family dynamics, psychodrama, crime drama, and straight out horror; and yet, it doesn’t stay in any one stream long enough to overstay it’s welcome, nor pass so fast that it is ignorable. A cameo by NoTLD’s Judith O’Dea also is a bonus.

Original full review HERE

Bubba the Redneck Werewolf

Directed by Brendan Jackson Rogers

Bubba happily works in a go nowhere job, hangs out at the local saloon to buy the cheapest booze they have, and has an unrequited love for Bobbie Jo, but she’s involved with the town bully. Bubba will do anything to get her back, including making a deal with the Devil, who turns him into the titular wolf-man. The humor here is quite broad and warm-hearted, and definitely geared towards appealing to a certain audience; it’s completely Trumpville, such as equating college students with zombies. Even so, this is quite funny, and it all still comes across as good natured and fun, when not dealing with bodily fluids (and gasses).

Original full review HERE

CarousHELL

Directed by Steve Rudzinski

When Steve Rudzinski puts out a film, the viewer is in for a quality show. Here is the thing about absurdist humor: it can be really, incredibly stupid or it can be way smarter than it appears to be. Fortunately, Rudzinski’s work falls on the side to the latter. The basic premise is that a carousel’s wooden unicorn, Duke, has become sentient after an obnoxious kid abuses it/him. Of course, that means the kid must die. His insufferable sister drags him to a party at her friend’s house, where all comers are fodder for the unicorn from (possibly literally) hell. The gore is kinda (purposefully) cheesy, but man, there is a lot of it, and most of it look incredible for its budget. This is the kind of film that you just say “fuck it” to any semblance of logic and watch it for what it is, without any guilt. Don’t expect anything super deep (or super shallow), and enjoy the references as they fly by.

Original full review HERE

Decay

Directed by Joseph Wartnerchaney

How far would you go for company if you were lonely? Rob Zabrecky plays a man who has a case of OCD, and a bit of a Norman Bates vibe to him. A teenage neighbor ends up dead on his basement floor, and in his own twisted way, he now has a friend of sorts. The whole cast is excellent, with just the right amount of pathos and creep factor to keep the attention sharp. She’s the yin of the physical decay, and he’s the yang of the mental one, balancing nicely as they both slide into a kind of sludge. Really nice SFX match the beautiful way it is lovingly shot, including an occasional artistic edge that enhances rather than overdoes the events. There are a number of really decent jump-scares as well.

Original full review HERE

Dreaming Purple Neon

Directed by Todd Sheets

Todd Sheets knows how to work the balance between the simplified and the over the top digitalization. There is a hell of a lot packed into this film, which looks way more than its budget suggests.  The body count alone is bigger than most overall productions. The focus is on a couple of drug dealers who are after someone who nipped their stash. In a separate story, which you just know is going to link up with the other, poor lovesick Dallas has returned to town, mooning over his lost love Denise. The catalyst of all the action is a demon-worshiping cult in a magical and unending basement, which is also a link to hell. As the film flows on, the level of blood (and other secretions) pours ever more. I was more than pleasantly surprised by how much fun it is. From the first scene, we are pulled in, and even most of the expositions move at a decent pace. Stripped down filmmaking has its place, but when you add a flair to it, it’s the mark of a decent director.

Original full review HERE

Hank Boyd is Dead

Directed by Sean Melia

In this story with comedic overtones, the action actually starts post-murders, and the death of the killer, the never-seen titular Hank. It’s at that point we meet our protagonist, a struggling actor who is on her first day of work as a caterer. As much as she is the central character, it’s the Boyd family (and acquaintances) that are the real scene grabbers, as each is looney in their own way. Most of the filmmaking is pretty straightforward, which is a compliment these days: There’s a story and they stick to it. That’s not to say it’s not creative, though. The film never lets up, but does not weary the viewer with undo tropes. It is a taut dynamic that doesn’t pander, and doesn’t let go, right to the end.

Original full review HERE

The Inhabitants: Standard Edition

Directed by the Rasmussen Brothers (Michael and Shawn)

Dan (Michael Reed) and Jessica (Elise Couture Stone) buy a mysterious Salem B&B from a widow who has been sinking into senility. The house was originally owned by a witch who was hanged during the infamous trials. Needless to say, she hasn’t exactly vacated the premises, and pretty soon wifey is under her spell. The premise itself is hardly new; however, the Brothers Rasmussen have taken an old motif and really worked it to the point where I didn’t feel, really?! That is actually saying a lot. Couture is the centerpiece of the film, but Reed is excellent as ever. The house, the lighting, the editing, the acting and the story all work together to create a totally enjoyable ghostie.

Original full review HERE

Invalid

Directed by Dustin Wayde Mills

Andrew (Brandon Salkil), thanks to a previous, pre-storyline accident, is in a catatonic state. His sister, Agnes (Joni Durian) takes over as caretaker. Through the story we quickly learn that Andrew has a way of communicating with Agnes… or does he? How much of this is really happening and how much is in her head, is one of the mind games the film plays with the audience. I was impressed by the murders here, which are so well done. It’s not gory, just really effective. Mills has come to master the simple less-is-more style of presentation that I thoroughly enjoy. Yet, despite the simplicity, Mills often uses some quirk that you just don’t expect. A good story, some great visuals, and a finely honed cast and crew make this another peg in Mills’ directorial cap.

Original full review HERE

Live-Evil

Directed by Ari Kirchenbaum

Officer Hancock (Charlene Amoia) gets called to a rich dude’s mansion to find a bunch of bodies and a naked woman forming out of ash, eyes aglow, aka the “evil.” Arresting her, aware that something is obviously afoot, Hancock puts her in a cell next to a couple of humorous snarky drug dealers. In an extended cameo role is the Candyman (1992) himself, Tony Todd, as an imbibing pastor. Then add some risen undead, affected by the ash that’s floating around the town that looks like snow. Along with the meat and ‘taters/blood’n’bones shooting is also an ample use of digital effects, from the previously described eye glowing and nearly omnipresent ash floating around, then add in some gunshot wounds, people appearing out of thin air, and other assorted gizmos. But there is also some appliance SFX as well. I enjoyed this immensely. Kirchenbaum doesn’t always take the easy or obvious road here. While I would not necessarily call this a comedy, it has some funny moments. It never lets up, it’s rarely predictable, and it kept me interested all the way through. It’s a good watch.

Original full review HERE

Model Hunger

Directed by Debbie Rochon

The main character is Ginny (the ethereal Lynn Lowry), who had aspirations to be a model and actress, but was deemed unworthy in a business demanding perfection. This turned her into an angry, psychopathic cannibal. Moving in next door is a couple (Carmine Capobianco, Troma queen Tiffany Shepis) who have a troubled yet loving marriage. There are some very sharp social commentaries in the themes, such as playing with cultural body image, how mass media dictates “beauty,” and what is commonly known as the male gaze. The kills are masterful, and the gore is plentiful and well done. It builds beautifully in degrees throughout the picture as Ginny goes further off the edge. And with those next door having their own issues, there is a fun time to be had. For a first-time director, the film is actually quite accomplished. Lowry is a gem. Her work here is the best I’ve seen to date. The same could be said about Shepis, who runs the gamut from stressed, to depressed. Rochon did good. Real good.

Original full review HERE

My Master Satan: 3 Tales of Drug Fueled Violence

Directed by Dakota Bailey

This is an anthology film with three dire and overlapping stories of dealers, criminals, psychopaths and drug users that all meld, which is a nice touch. Completely devoid of any kind of humor, these bleak stories rely more on realities, making it cringeworthy (a good thing) to watch these low-lifers react and take actions that would be shocking to most. The group is so vile, and so heinous, that it’s both hard to imagine wanting to remain in their company, yet you’re grateful for the opportunity to do so in the safe haven of your electronic viewing equipment. There is no lead character per se, and it’s seems more like they’re playing themselves than characters, which is quite the compliment. Shot on VHS, it has a look more of 8mm, with mostly a dull sepia tone, scratches, visual and sound noises, and tied up in some sharp and snappingly harsh edits. Bailey directs the film more like a fly on the wall than as a third person, bringing the viewer in on the action rather than merely viewing it. That was a nice touch, and not always easy to achieve without making it into some sort of lost footage. This makes it not necessarily an easy film to snuggle up to like a typical horror or crime drama release, but I believe that if you give it a chance, you may find yourself drawn into the stories.

Original full review HERE

Seven Dorms of Death

Directed by Richard Griffin

In the video nasty days of the 1980s, during the cheapie VHS phase of indie filmmaking, there was a different mindset to making a movie. Getting film was much harder, and it was rare for reshoots, and it was realistic policy to employ as much of the processed film that could be used, even if there was an accident, or an anachronism. It is with this premise as a motif that we are introduced to the 1983 Dunwich High School theater troupe, filled with ‘80s cliché characters. There’s lots of H.P. Lovecraft references, a particular metal band mentioned often supposedly to try to connect with teenaged boys (the audience demographic of the time), and some sex and nudity. It would be nearly impossible to categorize all of the intentional mistakes that were put in the film, such as the dead body breathing, or an actor looking for his mark.  The whole film is hilarious. The body count is high and the gore is, well, strange. There is a lot of it, but much of it is just plain (and, once again, purposefully) silly. Griffin also finds a way to work in gender/sexuality politics. Taken all together, this is a beautifully hot mess that any fan of the ‘80s fan genre will watch with glee. One can’t help but admire Griffin’s acumen in such an output of films, and his merry band of actors keeps on growing – and coming back – which shows that they know they are dealing with a quality product. And, perhaps by the end, you’ll find yourself using one of its wondrous bon mots: “Fuck you, skeleton!”

Original full review HERE

Winners Tape All: The Henderson Brothers Story

Directed by Justin Channell

There is a wave of nostalgia in the genre market for the quickie and cheap films that arose during the 1980s. Okay, sometimes C- or D-level. If one were to look back at some of these releases that we enjoyed so much, would we still find them so fascinating? That is the premise of this mockumentary. During that time period, the fictional West Virginia-based Henderson Brothers, Michael (Zane Crosby) and Richard (Josh Lively) made two straight-to-video films, The Curse of Stabberman and Cannibal Swim Club. Now, the Hendersons also have a both charming and creepy uber cheerleader in Henry Jacoby (Chris LaMartina). Mixed in with the talking-head interviews with the brothers and Henry, we see scenes from their two films, with Michael and Richard giving play-by-plays commentary. Not only financial constraints darken the Bros filmmaking, but so do the occasional rise of sibling rivalry. So this particular film also looks like it was made on a dime, but to the better of the result than the hindrance, since that is the look it was going for. I was smirking at the least and laughing at the high-jinx of these three guys (including Henry).

Original full review HERE

NOT FAVORITES

Consumption (aka Live-In Fear)

Directed by Brandon Scullion

Give a group of young people a cabin in the woods in the mountains with an evil spirit that has a cult of followers, and you just know fun is going to be abounded. Well, it should be for the audience, anyway. Instead we get mixes and matches of a bunch of genre stereotypes that brings us a story that is meandering and somewhat shallow in plot. Two Californian couples heading up to a cabin in Utah. In this case, the “Cabin in the Woods” is actually a huge and beautiful complex of townhouse condos linked together. But as happens too often, the two guys come across as douchebags. The two women have their own baggage, but don’t act like privileged macho morons; rather they seem like they’ve been sedated. My biggest problem with the film is that while each of the four main characters interact with each other, they all seem to be in a world of their own, with their own problems, most of which are not addressed. I never understood the motivations of their actions, or what are the attractions between them. The acting is fine and some the film looks decent. What few gore effects there are look well done (all appliance, not digital), though most are shown after the fact. For me, the weakest spot is the writing / storyline. It’s a bit too chaotic and possibly too ambitious for its framework and budget, and yet tells so very little of what is occurring, or why.

Original full review HERE

Death’s Door (aka The Trap Door)

Directed by Kennedy Goldsby

We meet a bunch of overage teens that get a mysterious and anonymous invitation to attend a party at a maudlin mansion. Most of the dozen or so kids are nothing short of stereotypes of obnoxious characters, such as the pretty mean girl, the virgin guy with bad salon’d hair, the jocks, the chestbeating morons, and the “good girl.” When they get into the mansion, the doors lock, and they naturally panic and turn on each other. Also inhabiting the house are three ghosts. As for most of the rest of the cast, they’re kind of bland characters. Some of the acting is fine, but it’s either overwrought or underplayed, mixed with highly questionable storytelling and editing, that I kept waiting for someone to start shouting “Game over, maaan! Game over!” in that Dana Carvey voice imitating the guy in Aliens (1986). And yet, even with all the shenanigans going on, hook-ups continue to happen. Whaaaa? Bummed me out, because I wanted to really like this.

Original full review HERE

The Devil’s Forest
(aka The Devil Complex; The Devil Within)

Directed by Mark Evans                                   

The Hoia-Baciu Forest is a real place that is known as one of the most haunted forests in the world. This a found footage film about a trio of filmmakers scared in the wood who “were never seen again.” Sound familiar? Right at the front of the film, we’re told they die. Woo-hoo. There is a student, Rachel, and two macho putzes: Tom the interpreter and, Joe. For some reason, they pick the dead of winter, with the forest full of snow, as the time to go venturing, giving the first big whaaaaaaat? moment.  Of course the guide runs off, leaving the trio with no map, no food, and a lot of anger and especially angst. So they walk through the snow, and bicker. There’s nothing more exciting that watching people walk through the snow except possibly watching people running through a snowy forest in the dark by the light of the camera, as also occurs. They run the camera the whole time and never mention new batteries. This really is a watered-down winterized retelling of Blair Witch Project.

Original full review HERE

The Purging Hour (aka Home Video)

Directed by Emmanuel Giorgio Sandoval

In retrospect, despite the name, they seem to try and go a bit more for the style of Paranormal Activity (2007) in that it takes until the last 20 minutes for anything to be of interest, but also keep with the incessant handheld found footage of The Blair Witch Project (1999). We meet an attractive Latina family who have moved to some mountain resort town in California. This is their first day there and everything is already unpacked and pretty tidy. There is the handsome and muscular father and beautiful mother, their typically over-emotional beautiful teenage daughter and her handsome and model-type boyfriend who is there to help, and a young teen son. Using a single handheld camera, they tape each other incessantly through the most mundane stuff. This includes some personal conversations for which no one in their right mind would have a camera on, making some of the characters kind of unlikeable. Essentially, the first hour is like watching someone else’s home movies. My annoyance, however, is with the little things that make no sense that stands out perhaps because of the slow nature of the film. For example, there is a blackout in the house yet in the kitchen you can see the blue, electric digital clock on the fridge. I totally respect that Sandoval used a largely Latino cast, but considering there are three writers, there really is no plot, nor narrative, which is what brings this release to a standstill from the get-go. A couple of good bloody scenes and a nice touch at the end, however, aren’t enough to save this, unfortunately.

Original full review HERE

Review: Invalid

Text © Richard Gary / Indie Horror Films, 2016

Images from the Internet

Invalid

Written, directed, edited and scored by Dustin Wayde Mills

Blood Sprayer Productions / Dustin Mills Productions (DMP)

71 minutes, 2015

Truth be told, there are three essential reasons why I was looking forward to seeing this film. First and foremost, it was directed by Dustin Wayde Mills, whose works never fail to please, even when it sometimes gets me squeamish. The second reason is Brandon Salkil (okay, and Dave Parker), who often appear in Mills’ productions; Mills,Salkil and Parker are also besties off-screen). Those are the good reasons. The silly yet still honest one is that I was very curious to know whether the title means (a) someone who is lamed (IN-vah-lid), (b) someone who is cancelled out (in-VAL-lid), or (c) both.

There are two, perhaps three central characters in the film. First off, is the titular, Andrew (Salkil) who, thanks to a previous accident, is in a catatonic state of being a “living vegetable” (a descriptor within the story); Salkil – therefore Andrew – is a tall guy, hunched into his wheelchair. The second and central role is his sister, Agnes (Joni Durian), who takes over as caretaker. While not a beanpole, I wonder how she moves him from the bed to the chair and back by herself, but I digress... The lesser third is the physical therapist, Daryl (Parker), who has a bit of a thing for Agnes. I could also add in Daryl’s friend, Jake, whose sole reason for existence here is essentially to help us understand what Daryl is thinking through verbalization, and also to crack wise as the comic relief. He’s played by the director, Mills.

Through the story we quickly learn that Andrew has a way of communicating with Agnes… or does he? How much of this is really happening and how much is in her head, is one of the mind games the film plays with the audience. Is this a kind of Patrick (1978) vibe, or all PTSD? The publicity for Invalid equates it with Italian giallo horror of Argento and Fulci. Well, I can see it more as the former than the latter, as Argento was as much about the internal as the visual, but Fulci was much more about the graphic. I must say I was impressed by the murders here, especially the first one. Now, I’m certainly not saying it’s anticlimactic because the pace definitely keeps up, but that beginning one is just so well done. It’s not gory, just really effective.

Joni Durian

As Agnes, Durian is an attractive woman playing frumpy. Ever notice how many horror film caretakers are plain and disheveled, even all the way back to Julie Harris’ Eleanor in 1963’s The Haunting? Perhaps to make her look sallow, or to set a mood, Agnes is often dressed in yellow, and shot with lemony lighting. I’m guessing a bit of both (again), because when things get tense, the lighting changes to a red tone. More films are using colored lighting as much as music to set the tone of the scene, which works strongly here.

As far as the frumpy part goes, it’s pretty obvious that beneath the huge red frames, the slicker, and the loose clothes, Agnes is quite a catch, even though in the storyline there is a reason why she dresses down. However, thanks to an early shower scene, we get to know the book under the cover, as it were, In fact, there are a few shower scenes with various characters throughout, and plenty of female flesh (no male nudity, though Mills has proven that’s not something he necessarily shies away from).

Salkil doesn’t really need to do much, other than lay as still as possible, though there is a highly dramatic and creepy physical flashback scene. He has proven that he can be a fine, highly emotive actor in both dramatic and comedic roles. Even when he’s completely limp, there is still a feeling of dread or danger, and I chalk that up to both his skill onscreen, and of Mills’ effective use of moodiness.

From his silly (but highly enjoyable; not meant as anything but complimentary) films early on, Mills has come to master the simple less-is-more style of presentation that I thoroughly enjoy. Usually there are no elaborate sets, and the stories tend to be pretty straightforward, but there is always the twist of the knife (sometimes literally) and plot that just keeps you drawn in.

Yet, despite the simplicity, Mills often uses some quirk that you just don’t expect. For example, during a conversation, the film suddenly turns to a moving manga comic style that works to explain emotions that straight dialog has trouble getting through. This is a really nice and surprising touch.

Andrew demands blood, much like the plant from Little Shop of Horrors (1960 or 1986), to make him big and strong, but only from women. I first questioned the gender demand, i.e., what makes women’s blood different from men’s, but the symbolism of loss of virginity – even from a paid escort – shows a deranged mind through subjective experience. I’m hoping this isn’t too much of a spoiler alert.

The only two negative things I could see are pretty petty and, quite frankly, ridiculous on my part. First, there is a scene with Andrew on a respirator, and it is silent. As having been in a room with someone in that condition more than once, I can tell you, it’s quite noticeable. Even if you have sleep apnea, the CPAP machine, which is a junior version of an inhalation device, is noisy. The second thing is I believe that there is too much information given about motive in the trailer. Don’t get me wrong, I am a coming attractions fan from childhood, but I’m glad I waited until after seeing the film before enjoying the teasers (as I tend to do now with those I review).

So, the question of what the title means, as I mentioned in the first paragraph? Well, I would say (c) as yes, Andrew is an invalid, but through events that occur or have occurred (again, or both), Agnes and Andrew’s lives become cancelled, one by the accident, and the second by giving up her life to care for him, another by other’s actions.

A good story, some great visuals, and a finely honed cast a crew make this another peg in Mills’ directorial cap, one that should be worn proudly.

https://vimeo.com/ondemand/invalid

Review: Slimy Little Bastards

Text © Richard Gary / Indie Horror Films, 2015

Images from the Internet

 

Slimy Little Bastards

Written and directed by Dave Parker

66 minutes, 2015

www.facebook.com/SlimyLittleBastards

 

I’ve never met Dave Parker, haven’t even had a real conversation with him online. However, I am still impressed by his progress in the genre. He started out (and continues in this capacity) as a video review vlogger under the name of MrParka (yes, one word, and worth checking out). Then he started acting (e.g., Bath Salt Zombies [2013] and Headless [2015]), and now he’s directed his first – er – filmella… so what do you call a film that is longer than a “short” but shorter than a feature? I just adopted the “novella” to film terms. No big whoop.

 

Anyway, for his first shot at fictional directing (he also directed a documentary short), it only makes sense that (a) it’s in the horror genre, and (b) he has people around him he’s been working with for a while, such as director/actor/SFX maven/puppeteer Mills, and actors Erin R. Ryan and Brandon Salkil. Wise move, m’man.

 

So, if you have watched hundreds of indie horror films every year, seeing some of the best and the worst, and you decided to hop on the wagon yourself, what would you decide to choose as your topic? Cleverly, Parker chose the anthology.

 

Brandon Salkil

The three stories have a wrap-around in the basement of a mysterious man in a red cape (Cary Ewell look-alike Salkil). He receives a shipment of three vials with, well, slimy things (looks like Jell-O). Y’see, he’s a collector of “rare creatures,” such as the (puppet) Nippler, who is somewhat reminiscent of the Scred puppet from early Saturday Night Live. He tells these tales to a gun-toting mysterious man (Keith Voight Jr.) who claiming his car broke down. Salkil chews more scenery than the slimy bastards munch on humans, but actually, that’s the role, and Salkil kills it with a humorous turn. I’ve seen him do some serious stuff (e.g., Skinless [2013]) and the man can act. Here, he ahcts!

 

First up is “Organic Shit,” about a shy, hungry man (Jeremy Ryan) who doesn’t talk and moves very precisely (autistic?). His apartment (I am going to assume its Parkers’ in real life as it is filled with DVDs; it is used in all three stories), after coming back from I’m presuming work, he has some strange green stuff coming out of his drain. He contacts the maintenance man (Mills) with a very funny and fake Russian?/Polish? accent. If you’ve seen the Blob, you may get some idea of the germination of this story. However, even with a few actual jump scares, it ends quite humorously (don’t worry, I won’t give it away), and definitely not how I expected.

 

Erin R. Ryan

The second tale is of the blue Jell-O, called “Brain Busters.” Poor Sandy (the underrated Erin R. Ryan) is going through a period of depression, thanks in part to a previous childhood bully (Salkil) and guilt-inducing mother (Melinda Parker…Dave’s mom?). She is under the care of a psychologist (Mills) who gives her an experimental psychotropic medication to put in her ear. Of course, the effects are not what are expected.

 

While this story also has humor, it is also a lot more dramatic and definitely more artistically shot than the previous one. Usually, the way many anthologies work, is they put a decent one to start, the weakest in the middle, and the best for last. Well, that’s not true here, nearly completely because of Ryan (I am a self-admitted fan from her previous work). She takes what could be a silly tale and turns it into an emotional one on a level you might not expect. My analogy is she’s like someone who takes a temp job and then just works the hell out of it and impresses everyone.

 

Also, as I said, Parker shows some bolder artistic moves, using stylish editing, some accurate casting and more thoughtful storytelling in general, even with something as goofy as this creature is, apparently.

 

Dave Parker (aka MrParka)

“The Crusties” is the third and longest piece. After meeting a crusty (pun intended) construction worker named Walter (MrParka) who accidentally eats some green goop that somehow got on his sandwich at a work site, we are introduced to a bunch of his friends, including most of the cast (sans Erin) playing themselves; they all meet to play a game of D&D (is that still a thing anymore?). There is a lot of scatological humor in this episode, and the one about gas station nachos had me laughing (and, bringing back specific, unpleasant memories). So while the guys are playing the game, in walks Walter who immediate hits the water closet, and squirts out more of the green goo, which turn into said juggalo Crusties creatures bent on killing our out-of-their-league – er – heroes.

 

Okay, I’m going to come out and say it, but please stick around. This story is stupid as shit (pun, again, intended), but honestly, I believe it was supposed to be. What I mean is, generally, you get to see some of the cast and crew having a blast together, and that transmits out to the audience, if you’re open minded to it. I do believe if you’re watching this, there is a good chance you’re in that fortunate frame of mind.

 

The Crusties

Much of the gore in the film is seen pretty often, albeit a bit cartoonish, with occasional bits being beautiful, such as the ear gag in “The Crusties.” The make-up and slime in the wraparound were mostly by Brandon’s (hey big guy, how youse doin’?!) spouse, Sherriah Salkil, also part of the Mills merry collective, and the puppets were created by Jeremy Ryan, which are as fakey looking as possible. In fact, it is to the point where I believe that it was supposed to be that way, for comic effect, leaning towards the Plan 9 from Outer Space (1959) level (e.g., the floating “Crustie”). If that’s so, I consider that a success.

 

Making films can be like poetry or masturbation: it should be done for oneself, but except in the case of the latter, it’s one’s personal passion put out to the public. It’s important to know about the source as much as it is for the source to understand their audience. And this is definitely geared towards the Dustin Mills audience (and beyond-yond-yond [if this was audio, there would be an echo effect there]), especially since Mills has recently delved into the darker side of the Torment subgenre. This is a good way to reach The Puppet Monster Massacre (2010) audience that may have been felt left behind, but still like the Mills group.

 

Okay, I understand that Parker is not Mills, but it’s essentially the same body with a different head. I’m sure Mills was there helping along, and rightfully so… I would want someone with experience in my corner; when Young Frankenstein (1974) was created, for example, there were segments actually directed by Gene Wilder under Mel Brooks’ direction, to prepare him for helming The Adventure of Sherlock Holmes’ Smarter Brother (1975). It’s all good.

 

Most of the cast is also most of the crew, as is common in micro-budget filming (the cost is listed as $1000, and I’ll bet most of that went to supplies for creating the puppets and gore, and largely for the cast’s food), and for a first time out, Parker was in good hands. The end result is something that is goofy, ridiculous, funny, and mostly an end product to be proud of, in my opinion. I’m looking forward to your next excursion, MrParka!

 

 

Review: Skinless

Text © Richard Gary / Indie Horror Films Blog, 2013
Images from the Internet

 

Skinless (aka The Ballad of Skinless Pete)
Directed, shot, edited and scored by Dustin Wayde Mills
Dustin Mills Productions
80 minutes, 2013 / 2014
www.Facebook.com/DustinMillsProductions
www.DMPStudios.com
http://dmp.storenvy.com

On many different levels, this film is a bit of a turning point for Dustin Mills Productions. Up until now, the releases by director (among other titles) Mills has either been a horror comedy or has strong elements of humor. This film is different in that it is serious, from the first minute on. There is still a few (meant to be) moments of uncomfortable titter, but this film is done straight.

Essentially, this is a four-person piece, at least three of them we get to see full frontal, but I’m getting – er – ahead of myself. Of the foursome, three have appeared in previous Mills productions. The newest is Allison Egan (not to be confused with Brit actor, Alison Egan). The first shot starts right off with her in the altogether as Olivia, the girlfriend of the soon-to-be-skinless titular character. As with many of Mills’ female cast members, she’s tattooed and looks like she could beat the shit outta you and enjoy it, but remains attractive. Her character has little back story, but her screen time is limited, so onward.

Returning for a third time is Dave Parker, also known as the horror vlogger, MrParka (yes, one word). He was in Easter Casket, and also Bath Salts Zombies as an addicted stoner, but in this more serious role, he does fine. His role of Neil, who controls the money to be meted out to scientists in order to insure profit for the shareholders, is pivotal, but again, not much screen time. Parker looks a bit young for the role which he is portraying, but I’m okay with that (like I deserve to have a say, right?).

Erin R. Ryan

The female lead is Erin R. Ryan, who also starred in Mills’ last film, Easter Casket. She’s still-full-skin Pete’s roommate Alice, and less-than-secret love interest. She is also a scientist and is, in fact, research partner with him. Ryan is an attractive woman with a firm jaw and is capable of being both strong and vulnerable in the same scene.

Pete Peel (really? Peel?) is the protagonist anti-hero, strongly played by Mills’ hetero-life/work-partner and recurring lead actor, Brandon Salkil. Petey is looking for a cure for cancer because his shoulder has a ridiculously large melanoma (looks like a silver dollar sized hole). Not sure why the girlfriend, Olivia, never noticed it. As Nirvana once said, “Oh well, nevermind.” The important thing is that he’s on a literal deadline to find the cure, and he thinks he may have found it in a worm whose secretions melt, well, you know. And despite threats from Alice and Neil, I don’t think I’m giving anything away (read the title of the film) by saying that he injects the experimental serum into himself.

So far, the story is going along strongly, we’re somewhat emotionally tied to the two lead characters in a star-crossed lovers way, and you just know the big bang is coming. And as always, Mills does not disappoint.



Brandon Salkil

From here, though as enjoyable as the film is, and it truly is, there is some resemblance to Cronenberg’s version of The Fly (1986). First healing strength leading to the body disintegrating yet still strong, twitching, bodily fluids to melt food and people, and of course the love interest trying to reconcile with the whole thing. While Cronenberg had a budget of $15 million, Mills does damn fine with a few thou and opens it up in ways that are new, partly by slowly closing the story into a tight knot.

Let’s talk about that last part. One of the things I truly like about Mills’ work is that he knows how to make a small budget go a long way. For example, nearly all of this film, with the exception of one scene¸ takes place in a single house, and mostly in the attic and the basement. This works well with giving the mild yet palpable feeling of claustrophobia, a device that syncs well with what is happening to Pete, as his world gets smaller.

Everything feels increasingly intimate, with a large percentage of the dialog between the two leads, Pete and Alice, the Invisible Man style clothes and mask Pete wears, and much of the surroundings being quite bare and stark. I’m not sure if it was budget constraints, the house they managed to get to for the shoot, or a director’s choice for mood, but it works.

There obviously isn’t a very high body count with a cast of four (though if you look at it in percentages, that’s another story), but the gruesome effects for all involved is incredibly enjoyable. Sherriah Salkil (Brandon’s spouse who also contributes to the films in various roles) and Mills do a great job with the make-up. It looks way better than the budget implies, and I would say this filmmaker’s best gore effects yet. Still stringy rubber innerds¸ but the blood and masks look way ahead of past films, and that’s saying a lot considering how accomplished they looked before.

Since this is a Mills film, there must be a discussion of the one thing that is recurrent in all his releases: puppets. He keeps it down to a minimum, being a worm, a dog (or what’s left of it), and melted bodies. Sure, the dog looks similar to the one in Bath Salt Zombies, but it kicks butt (or bites leg?).

 If there was any one complaint on my part (as I am wont to do), it is that when Brandon wears his mask, it is sometimes hard to make it out. If a bigger budget was on the table, I would say re-dub the voice.

The visuals are quite compelling. The editing is tight, the cinematography sharp (and HD), and even the lighting is solid. And the gore level is high and sticky. Mills has a talent for making fake blood (too many films are the wrong color or consistency), and he is not afraid to apply it.

The one true piece of comedy that appears in this film is over the credits, in the song “The Ballad of Skinless Pete,” by Mike Fisher, an inappropriately folksy ballad that is the opposite of the metal shards that usually accompany a Mills release.

Microbugets can either put a crimp in a film’s style, or it will present the opportunity to be creative with what one has. This film definitely falls into the latter category. That being said, if you’re a band and you need a music video and can pay for it, or just want to support the genre through an up-and-comer, checks out Mills site above and help finance his next project, called SpiderClown. I am already anticipating it.

 

Red Band Trailer:

http://www.youtube.com/watch?v=7DBt17RMoM0